"QUEST OF THE LOST SYSTEMS
Chapter One
Section 1: suzume-zashi, or attack a la sparrow shish kebab
Major tactics based on yagura formation can be divided into two groups:
N-3g and S-3g type. The latter, the S-3g type, is still frequently used,
though the countermeasures for it have undergone a great deal of changes.
How the former type, the N-3g, was devised, revised, and readjusted is
the theme of this section.
The following diagram shows the first of its kind, presented by Kozo
Masuda playing white. The basic idea was to place R, B, L and N(all of
long-range pieces) aiming at the black's 9g, with Gs and Ss remaining in
its own camp.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: nothing
| * * * * * * * wN wL |a
|wR * * wS * wB wG wK * |b
|wL * * wP * wG wS wP wP |c
| * wP wP * wP wP wP * * |d
|wP wN * bP * * * bP bP |e
| * * bP * bS bP bP * * |f
|bP bP * * bP * bB * * |g
| * bS bG * bG * * wR * |h
|bL bN * bK * * * bN bL |i Black in hand: nothing
+---------------------------+
Diagram 1. Up to (w)N-8d
NB Thanks to Yoshinori Sawada, who devised the smaller diagram as above,
and kindly let me use it.
(A few words from your tour guide)
Kozo Masuda, who invented the suzume-zashi was well known for his motto
"shinte issho"(lifelong quest for new moves). Born in 1918, he was only
a few years elder to Yasuharu Oyama, his arch rival, but retired much
earlier, due to the disease he picked up during WW II when he, as a
conscript, sent to a small island in the South Pacific.
According to his autobiography, he left home at the age of 13 with
aspiration of becoming Shogi Meijin, leaving a note that said something
like, "Me, Kozo will be a meijin someday, defeating the meijin in a
handicapped game, me playing without a kyosha." Masuda himself admits
in his book that this sentence was grammatically incorrect, and even he
couldn't make it out. Anyway, it meant a great deal to him to beat a
meijin, so he ran away from home to become a shogi player, to which he
was sure his parents wouldn't consent. Firm as his resolve was, he had
no idea where he should go to. Absolutely penniless, he walked as far as
Hiroshima, a big city, some 50 km away from home. Then he knew he had to
earn some money to continue his journey. What could he do? He was a
skinny boy with no skills. But there was one thing he did do very well,
yes, shogi, and in those days even a small boy could get some money with
it. Even to this day, on festive occasions we sometimes see the likes of
them, but there were a lot of street tsume-shogi men up until Pre-WW II.
They displayed a tsume problem on the board, calling to passers-by to
play against them. Those tsume problems looked appetizing but had hidden
traps. People paid fee for an attempt, and if they correctly checkmated
the king, they bagged the prize money. Masuda, already a shrewd player,
foresaw every trick and mated the king relentlessly. Soon he was known
to all the tsume-shogi men as the bad brat, to the extent that some of
them offered him money in return for not participating the game. In the
meantime, he became friends with one of them, who offered him a handsome
reward in exchange for providing all the answers of the tsume problems
in a book, one of the source books for street tsume-shogi men. Even for
Masuda, it took several days to solve all the problems, but that wasn't
the end of the story. This easy-going guy confided in the brilliant 13
year-old that he often made the wrong moves against customers, and ended
up paying the prize money. "Will you write down all the possible
variations as well?" he asked, so Masuda had to delay another several
days to leave for Osaka, where he was planning to become a pupil of the
famous pro, Kinjiro Kimi.
Sorry, folks, more about the suzume-zashi next time.
Suzume-zashi (Continued from above)
The very first attempt of suzume-zashi created by Kozo Masuda was a
success. That it was played by the white player seems, in hindsight, to
be more than suggestive of what followed afterwards. In the current
context of yagura, the suzume-zashi(played by Black) usually takes the
following configuration.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: nothing
|wL wN * * * * * wN wL |a
| * wR * * * * wG wK * |b
|wP * * wS * wG wS wP wP |c
| * wB wP wP wP wP wP * * |d
| * wP * * * * * * bP |e
| * * bP bP bP * bP bP * |f
|bP bP bS bG * bP bN * bL |g
| * wK bG bB * bS * * bR |h
|bL bN * * * * * * * |i Black in hand: nothing
+---------------------------+
Diagram 2. Basic formation of Black's suzume-zashi; up to (w)B-8d.
You might have misgivings about its effectiveness because 1c position is
guarded by three pieces (L, N and K), which equal the Black's attacking
pieces (L,R and B), but you'll see...
>From the diagram 2 (from Black):
N-2e, S-2d; Nx1c+, Sx1c; P-1d, Sx1d; Lx1d, Lx1d;
Rx1d, L*1a; P*1c, Lx1c; Bx1c+, Nx1c; P-3e, ...
The third move, (b)Nx1c+, is the pivotal idea. Then, for (b)P-1d, if
White's S comes to 2d instead of taking P, you can push your P to 2e. If
(w)Sx2e, then (b)P-1c+. You won't suffer either way. At the last move,
(b)P-3e, you have S and 2Ls in your hand, while White has B and N.
Material disadvantage, you say? Just look what P-3e will do for you. If
(w)Px3e, then (b)L*3d, (w)N*3c, (b)L*3i. Your next move is Lx3e, which
will set the game in your favor.
This is the basic idea of suzume-zashi. It certainly looks like a
devastating strategy, doesn't it? But now it is not so popular as it
used to be. We will see its vicissitude, beginning with the game played
by Kunio Yonenaga(b) and Makoto Nakahara(w),on April 11& 12, 1979, as
the third game of the Meijin-sen.
Nakahara's countermeasure for suzume-zashi was his B placed on 6d.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: nothing
|wL wN * * * * * wN wL |a
| * wR * * * * wG wK * |b
| * * wS wP * wG wS wP wP |c
|wP * wP wB wP wP wP * * |d
| * wP * * * * * * bP |e
|bP * bP bP bP * bP bP * |f
| * bP bS bG * bP bN * bL |g Black in hand: nothing
| * * bG * * bS * * bR |h
|bL bN bB bK * * * * * |i
+---------------------------+
Diagram 3. Yonenaga(b) vs Nakahara(w); up to (w)S-7c.
The last move on the diagram, (w)S-7c, could have been S-2d instead. If
Black moves N to 2e, White's S can take it this time. Then will follow:
(b)Px2e, (w)N*2f. See for yourself that Black's R is sure to be captured.
Moves from the diagram 3: (from Black)
P-6e, B-4b; N-2e, S-2d; Nx1c+, Sx1c; P-1d, Sx1d;
Lx1d, Lx1d; Rx1d, L*1a; P*1c, Lx1c; Bx1c+, Nx1c;
P-3e, B*3f; P-2e, Bx2e; R-1i, Px3e; L*2h, B-3f;
L*2f, N*2e; R-1f, P*1e; R-1i, P-4e;
The Meijin-sen in 1979, when this game was played in, was also known as
the suzume-zashi series, which indicates how popular this strategy was
among top players at that time.
Black began his attack by P-6e, first making White's B go away from 6d,
but he just couldn't follow the same procedure as what followed Diagram
2 because of White's B on 4b. But Black's two Ls dropped on the same
file, on 2f and 2h, look successfully threatening to White's camp.
Only a month before this, exactly the same phase appeared (up to White's
B*3f) in the game played by Yonenaga(b) and Hifumi Kato(w). Instead of
dropping L on 2f, Black dropped S on 2g, which was to be countered:
(w)Bx2f, (b)Lx2f, (w)N*1e. The last move, N*1e, was a goodie, which
undermined Black's attack.
Back to this game, White's N*2e gives an impression of a thought-out
defence, but Black's R-1f surpassed it. You might say, why proceed to 1f
position when you know the opponent will drop P on 1e, then Black's R
will be forced to retreat, thereby Black makes one move in vain? But lo
and behold. By dropping P on 1e, White can't make P*1g, which was his
original plan.
In the actual game, after Diagram 3, Yonenaga moved his K to 7i, which
made the game a very difficult one. Yonenaga lost the game in the end.
Instead of K-7i, however, he should have made S*1d, which would
certainly have put White in plight. But nobody knows for certain.
A month later, a brilliant counter-punch devised by Kato carried the
day...
The game was played by Keiji Mori(b) and Hifumi Kato(w) on May 25, 1979,
as a preliminary match for Oi(rhymes with "boy", meaning kingly status).
It went exactly the same way as the Yonenaga-Nakahara game did,
all the way through Diagram 3 up to (b)L*2f, except that both Ps on the
9th file stayed immobile.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: N,4Ps
|wL wN * * * * * * * |a
| * wR * * * wB wG wK * |b
|wP * wS wP * wG * wP wN |c
| * * wP * wP wP * * * |d
| * wP * bP * * wP * * |e
| * * bP * bP * wB bL * |f
|bP bP bS bG * bP * * * |g Black in hand: S
| * * bG * * bS * bL * |h
|bL bN * bK * * * * bR|i
+---------------------------+
Diagram 4. Mori(b) vs Kato(w), up to L*2f.
Moves from Diagram 4: (from White)
N*1d; Lx2c+, Gx2c; Lx2c+, Kx2c; G*3g, B-2e;
P*2f, B-3d; G-4f, L*1e; (Diagram 5)
9 8 7 6 5 4 3 2 1
+---------------------------+
|wL wN * * * * * * * |a White in hand: L 4Ps
| * wR * * * wB * * * |b
|wP * wS wP * wG * wK wN |c
| * * wP * wP wP wB * wN |d
| * wP * bP * * wP * wL |e
| * * bP * bP bG * bP * |f
|bP bP bS bG * bP * * * |g
| * * bG * * bS * * * |h Black in hand: S
|bL bN * bK * * * * bR |i
+---------------------------+
Diagram 5. Up to (w)L*1e.
White's N*1d did it. I have to confess that I found the move out in the
field at first, but seeing those moves up to L*1e, I had to change my
mind, for White's N and L formed a very effective guard against Black's
attack.
So, the whole concept of suzume-zashi was forced to be overhauled from
the beginning: then came an idea of castling the Black's king first, so
that he won't have to worry about the defensive. Now look at the diagram
below, in which Black's king is in the safe position, 8h.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: nothing
|wL * * * * * * wN wL |a
| * wR * * * wB wG wK * |b
| * * wN wP * wG wS wP wP |c
|wP wS wP * wP wP wP * * |d
| * wP * bP * * * * bP |e
| * * bP * bP * bP bP * |f
|bP bP bS bG * bP bN * bL |g Black in hand: nothing
| * bK bG bB * bS * * bR |h
|bL bN * * * * * * * |i
+---------------------------+
Diagram 6. Up to B-4b.
Likely moves from Diagram 5: (from Black)
N-2e, S-2d; Nx1c+, Sx1c, P-1d, Sx1d; Lx1d, Lx1d;
Rx1d, L*1a; P*1c, Lx1c; Bx1c+,Nx1c; P-3e, S-9e;
Px3d, P-8f; Px8f, P*8g; Gx8g, P*8e;
In essence, suzume-zashi can be coped with bo-gin (climbing Silver).
When Black delays his attack by making K-8h, White can resort to bo-gin.
The last move, P*8e, clearly paves the way for White's win by one move,
provided both players make no mistakes till the end.
All these investigations boil down to: That it would be best for
Black to open fire when his king is still on 7i.
Diagram 7 shows another variation, in which, starting from Diagram 3,
(b)B-6h, (w)S-8d, (b)K-7i, (w)N-7c were made, followed by exactly the
same moves from (b)P-6e through (w)B-3f, as Yonenaga and Nakahara did.
9 8 7 6 5 4 3 2 1
+---------------------------+ White in hand: N, 4Ps
|wL * * * * * * * * |a
| * wR * * * wB wG wK * |b
|wP * wN wP * wG * wP wN |c
| * wS wP * wP wP * * * |d
| * wP * bP * * wP * * |e
| * * bP * bP * wB * * |f
|bP bP bS bG * bP * * * |g Black in hand: S
| * * bG * * bS bL bL * |h
|bL bN bK * * * * * bR |i
+---------------------------+
Diagram 7. Up to (b)L*3h.
The difference is Black's L*3h, paying heed to what happened after
(b)L*2f, (w)N*1d. To drop L on 3h is simple enough, but claiming White's
B.
Likely moves from Diagram 7: (from White)
P*1h; R-2i, B-1d; Lx3e, P*3d; P*2d, Px2d;
S*1e, B-2e! Lx2e, Nx2e; Sx2d, Bx2d; Rx2e, P*2c;
White's P*1h is a move to make in response to (b)L*3h. If (b)R-3i
instead of 2i, then (w)B-1e. So Black's best move should be R-2i. A few
moves later, at (b)S*1e, White's B-2e looks suicidal but brilliant. When
(w)P*2c, the last move above, was made, you will see that Black's attack
is completely thwarted.
To sum it up, when Black's king steps into 8h position, White attacks by
bo-gin, while the king is yet to be castled, White then comes killing
all the threats, beginning with B*3f. I must add that in actual games,
however, variations are almost innumerable, some of which are really
tangling, but gradually and slowly suzume-zashi got less popular among
professional players.
There is another type of counterattack by White, called shagami-yagura,
which is deemed quite powerful.
Shagami-yagura, or squatting-yagura
As an example of shagami-yagura, I will show you another Nakahara(b)-
Yonenaga(w) game, which was played on 29 & 30 March, 1979.
9 8 7 6 5 4 3 2 1
+---------------------------+
|wL wN * * * * wK wN wL |a White in hand: nothing
| * wR * * * wB wG wS * |b
| * * wS wP * wG * wP wP |c
|wP * wP * wP wP wP * * |d
| * wP * * * * * * bP |e
|bP * bP bP bP * bP bP * |f
| * bP bS bG * bP bN * bL |g Black in hand: nothing
| * * bG * * bS * * bR |h
|bL bN bB bK * * * * * |i
+---------------------------+
Diagram 8. Nakahara(b) vs Yonenaga(b), up to S-2b.
Moves from Diagram 8: (from Black)
B-5g, P-6d; P-4f, B-5c; S-4g, N-3c; B-6h, K-2a;
K-7i, S-6b; R-5h, S-6c;
See how the White's king is castled. This is called shagami-yagura, or
kikusui-yagura, or Takashima-yagura, and appeared many times in
Nakahara-Yonenaga matches, demonstrating how tough it was. Though it is
rarely seen these days, this formation can be quite successful in the
sense that it allows his own king enough space to avoid fatal threats.
Only, you've got to be very careful when you are about to form shagami-
yagura, especially the timing of N move. It can be vulnerable, when the
N leaping is taken as a cue for an attack. Look at the example below. It
was taken from the fifth game of Meijin-sen, played by Habu(b) and
Yonenaga(w), on May 30& 31, 1994.
9 8 7 6 5 4 3 2 1
+---------------------------+
| * wN * * * wK * wN wL |a White in hand: nothing
|wR * * * * * wG * * |b
|wL * * wP wS wG wS wP wP |c
| * wP wP wB wP wP wP * * |d
| * * * * * * * * * |e
|wP * bp bP bP bS bP bP * |f
|bP bP bN bG * bP bN * bP |g Black in hand: nothing
| * wS bG bB * * * wR * |h
|bL * bK * * * * * bL |i
+---------------------------+
Diagram 9. Habu(b) vs Yonenaga(w), up to (w) P-9f.
The last move on the diagram, (w)P-9f, was made in response to (b)N-7g.
Moves from the Diagram 9: (from Black)
Px9f, Lx9f; Lx9f, Rx9f; P-6e, B-9g+; L*9i, P*9h;
Sx9g, Rx9g+, G-8h, +R-9b; L*9h, +R-7b; B-5g, P-6d;
Px6d, L*6a;
After those moves, White has something to look forward to, e.g., P-7e
through S-6d, which would mark White's success.
The problem remains though: once both parties complete their formations,
the suzume-zashi side has difficulty to time when to open fire. It might
even have a possibility of sen-nichi-te ( literally, a thousand-day move,
meaning you keep on getting back to exactly the same phase after a
thousand days; a stalemate). In other words, that's exactly why White
resorts to suzume-zashi, because even if the game ends up with sen-
nichi-te, he/she is guaranteed to play Black in a re-match. What's there
to lose?
Besides a danger of getting into a stalemate, another factor that made
suzume-zashi less popular was White's shagami-yagura, which still makes
the Black indecisive how to go about it.
Suzume-zashi, however, is very active in other formations like S-4f- or
S-4g-yagura, and still a very powerful weapon in many games. The concept
of suzume-zashi will no doubt be succeeded and give rise to many revised
strategies in years to come. Every time I think about it, I'm
overwhelmed by Kozo Masuda's ingenuity.
(End of Sec.1)
Takako Noda